Public Readings

by Robert J. Sawyer

Most science-fiction writers get called on from time to time to do
readings of their work at conventions or public libraries. I've
done a couple of dozen readings over the years; here are a few
things I've learned. [As of April 2000, my public-reading
count was up to over 150.]

First, it's a lot easier to read from a printout designed
specifically for reading. I make a special printout in big type
(I use 18-point Times Roman on 27-point leading). The advantages:
(1) fewer words per page mean you're less likely
to lose your place; (2) if you're reading from a podium, you can
place the pages on the podium and read them easily without having
to squint. Also, if you're so inclined, you can give the
printout away as a souvenir to someone in the audience at the end
 this is a little trick I picked up from S. M. Stirling; it
makes for one happy fan. (Second choice: read from a regular
manuscript, which at least keeps your hands free for gesturing.
Last choice: read from the printed book.)

I always tell people how long the reading will be: "This is
the first chapter, and it will take about thirteen minutes."
Reason: there will be people in your audience who don't
want to be there (dragged out to your reading by their
significant others, etc.). I find letting 'em know how long it
will take substantially cuts down on the "when will this be
over?" shuffling.

Read dramatically, and don't be afraid to change volume.
Nothing is more dynamic in a reading than the reader suddenly
shouting an exclamation. Conversely, the absolute best reading I
ever did was one that ended with the scene from my novel Golden Fleece in which JASON, the
computer from hell, was trying to sleep-teach a human being into
feeling guilty. I read the narration in a normal voice, but for
the words JASON was whispering through the headboard speakers I
actually did lower my voice to a whisper (albeit a stage whisper,
so people could hear it in the back  it helps, by the way, to
have a microphone if the audience is going to be more than a
dozen or so people). The room was absolutely still, hanging on
every word.

Make eye contact. Know your work well enough so that you
don't have to be constantly looking at your manuscript. Look at
your audience  indeed, at specific people in your
audience (not just generally out at the room).

Don't be afraid to make subtle additions or changes for the
sake of the reading. On a printed page, the alternation of
speakers may be clear because of the way you've done
paragraphing. If you have to add in a "Smith said," do so  but
determine this when you rehearse the piece. Likewise, consider
editing out unnecessary exposition: you may have cleverly put
stuff into the scene you happen to be reading that doesn't become
relevant until later in the book, but if the audience for the
reading doesn't need to know it, think about chopping it out.

Old radio-person's trick: when changing pages in your
manuscript, simply slide them from the to-be-read pile to the
already-read pile. Don't bother flipping them over. Yes, when
done, your story will be in reverse order, but you can re-collate
the pages afterwards. The point is to cut down on paper noise.
Also, doing it this way you actually have two pages face up on
the podium at once  the one you're just finishing and the one
you're about to begin. That lets you clearly see the transition
over the page break, so your reading doesn't falter as you switch
pages.

Take business cards to your reading. If you read well,
someone may come up to you at the end and ask you if you'd be
available to read at another venue, or to talk to a class or to a
conference. Having a card makes it easy for them to get in touch
with you later.

Here's a chart I've worked out to tell me how long it will
take to read a piece out loud. This is based on actual timings
of my own readings, with a certain amount of performance and
flourish, and assumes a reading speed of 179 words per minute:

2015 update: The tips above have stood me in good stead for
over 22 years now (and my public reading count is now up over 350). The
one tip I'd add:

Since March 29, 2003, I've been doing my readings from a hand-held device
 first a Sony Clié (Palm OS device), and more recently from an
iPhone.

Make sure you don't have to scroll, but can just flick pages so that
you can hold the device in one hand  makes it easier to gesticulate.
Both iBooks and the Kobo app let you flip by pages, if you've converted your
manuscript to ePub via Calibre.

Use big type, and you'll have so few words on the screen that you can't lose
your place even when you look up to make eye-contact with the audience.